​Hailey Clark

CRITICAL ACCLAIM / KRITIKEN

"As Fiordiligi,

Hailey Clark triumphed..."

-OPERA NEWS

"Clark...immediately drew in the crowd with her striking stage presence and her astonishing vocal control. Clark's performance is a masterclass in how to fully inhabit and develop a character — all while dazzling with an ineffably beautiful voice."

-The Denver post

"VOCALLY AND EMOTIONALLY TOUCHING..."-THE HUFFINGTON POST

AS ANNE TRULOVE IN A NEW PRODUCTION OF THE RAKE'S PROGRESS, THEATER BASEL, SWITZERLAND, 2018CONDUCTOR: KRISTIINA POSKA, DIRECTOR: LYDIA STEIER

"One can also view Stravinsky's occasionally somewhat mannered-looking neoclassical music as merely entertaining. It is more. Anne's Cabaletta "Love" is perhaps the most sensitive thing written for the opera stage in the second half of the 20th century. Hailey Clark has the vocal tool for it. Her lyrical soprano is full of suppleness, agile and present in all registers."

"Sixty-seven years after Elisabeth Schwarzkopf, who created the role of Anne, Hailey Clark dazzles with her virtuosity but also her emotional reserve. We really have a tight throat over the long final exchange between lovers who could have aged together."

"As a truly loving Anne, Hailey Clark is by no means merely the Naive, but knows in her nuanced singing many facets of love. The lullaby, which Anne sings at the end of her "Adonis," is one of the touching moments."

"The main roles are cast with young American voices, which make the libretto tingle with prosodic taste...Hailey Clark as Anne Trulove expresses her loyalty to Rakewell with increasingly dramatic intensity."

"...A truly touching moment: when Anne Truelove weeps over her beloved Tom...there is no irony in mind. Especially as Anne Hailey Clark is driven raw with emotion and finds to great intimacy in the voice..."

"...Mozart wrote the soprano part of Fiordiligi as the most prominent and virtuosic. He gave her two of his greatest bravura arias. Hailey Clark, making her CCO debut, immediately drew in the crowd with her striking stage presence and her astonishing vocal control. Clark's performance is a masterclass in how to fully inhabit and develop a character — all while dazzling with an ineffably beautiful voice. Both arias drew sustained applause."

"Soprano Hailey Clark is a revelation in her part as Fiordiligi, the sister that tries valiantly to fight the temptation of the disguised men. There are moments that Clark’s voice is a whisper that fills the opera house with its power. In the opportunities Clark gets to take over the stage, like in the aria “Per pietà,” the audience is treated to not only a voice worthy of admiration, but also the beauty inherent in the music of Mozart.

"For the company outing in its own city donated the house excellent forces ... Hailey Clark is not a pointed, cold Musetta, but could be almost a rival Mimì's. It would have been nice to have known more about these young people [Musetta and Marcello]...""Für den Betriebsausflug in der eigenen Stadt spendiert das Haus hervorragende Kräfte...Hailey Clark ist keine spitze, kalte Musetta, sondern könnte fast eine Rivalin Mimìs sein. Gerne hätte man in der Aufführung mehr gewusst von diesen jungen Menschen..."

"The longest applause and most numerous bravas were heaped opening night on soprano Hailey Clark as Micaela, the “good girl” from Don Jose’s hometown. Her lengthy prayerful fretting is expertly carried off from a technical standpoint. But more affectingly, her voice wafts like wind through tree branches believably embodying a purity that ought to seem ludicrous in 2016."

"Without question the vocal highlight was Hailey Clark whose Micaëla shows that this girl really is almost as tough (though not rough) as her rival, her kindness never sweet. This woman has an unwavering moral compass."

"Clark imbued Fiordiligi with real emotions rather than the caricature of a prima donna. Most importantly she can rise to the role’s vocal challenges. She brought energy, fervor and dramatic passion to Fiordiligi’s “Come scoglio” and “Per pietà, ben mio.” Her strong low tones, fine projection and ease in coloratura passages propelled the ensembles as well as solo showpieces. Clark is a very promising soprano."

--LAWRENCE BUDMEN, SOUTH FLORIDA CLASSICAL REVIEW (MIAMI, FL, 2015)

“Clark knocked it out of the park with a flawless commanding “Come scoglio” followed by a truly inspiring “Per pietà.” The tough coloratura seemed to encourage, not intimidate her. With this performance, she demonstrates the commitment needed to tackle the big stuff.”

--JEFF HALLER FOR WWW.CONCERTONET.COM (MIAMI, FL, 2015)

"Clark's voice is an impressive instrument...Fiordiligi's first aria, 'Come scoglio,' is one of the most difficult arias in the soprano repertory with a range from A3 to C6...Clark has a nice even voice with a beautiful top and a reasonably substantial bottom that allowed her to be heard even in the lowest sections of the aria. It was a superstar performance."

"​Ms. Clark used the roulades and climactic top As in 'Ah! fuggi il traditor!' as springboards for launching Elvira’s emotions into the laps of listeners, and the security of her singing of 'Non ti fidar, o misera' provided the energy that made the quartet a highlight of the performance.​..Clark sang stunningly, the voice soaring above the turbulent orchestrations...A charge of dramatic electricity coursed through the auditorium whenever Ms. Clark was on stage, but the true glory of her Elvira was musical. She had every note of the part in her voice and knew how to place and project every tone with ideal impact. Hers was an Elvira to be loved, not pitied: whatever trouble partnering such a firebrand might cost him, Giovanni seemed a fool for having discarded such a woman as Ms. Clark portrayed.

--JOSEPH NEWSOME FOR "VOIX DES ARTS" (RALEIGH, NC, 2015)

"All the coloratura was vividly in place as soprano Hailey Clark railed against her seducer Don Giovanni. She was believable in rage and as the all-too-susceptible woman."

"Soprano Hailey Clark, as Leïla, possesses a fluid, flexible voice; suitable for a role that looks fondly back at the florid bel canto era of the early 19th century." --WAYNE LEE GAY, D MAGAZINE (DALLAS/FORT WORTH, TX, 2014)

"In lovely feminine contrast was the bejeweled priestess Leïla, sung by soprano Hailey Clark. Clark’s voice, while not as booming as her male counterparts, is focused and delightfully flexible. She closed Act I with a magnificent cadenza at the end of “O Dieu Brahma.”​